Shakespeare and Performance


The Shakespeare Conference: SHK 23.163  Thursday, 26 April 2012


From:        Sarah Gail Farrell <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 17, 2012 11:42:38 AM EDT

Subject:     Shakespeare and Performance


The Early Modern Studies Journal, formerly the Early English Studies Journal, is looking for a few book reviewers for our upcoming volume titled: Shakespeare and Performance. If you are interested please send an email to This email address is being protected from spambots. You need JavaScript enabled to view it., attaching an electronic copy of your professional resume and, if possible, a sample copy of a previous book review you have had published. The books that are currently available for review are seen below.


Shakespeare’s Great Stage of Fools by Robert H. Bell


Costuming the Shakespearean Stage: Visual Codes of Representation in Early Modern Theatre and Culture by Robert Lublin



Sarah Farrell

Early Modern Studies Journal

Book Review Editor


iPad App


The Shakespeare Conference: SHK 23.162  Thursday, 26 April 2012


From:        Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         Thursday, April 26, 2012

Subject:     iPad App


From Bryn Mawr College Web Site


Bryn Mawr Now


“To be or not to be?” There’s an App for That…


Posted April 19, 2012



A signature work of the Bard just became more accessible, thanks to a new iPad app developed by Bryn Mawr College Professor Katherine Rowe and University of Notre Dame Associate Professor of English Elliott Visconsi.


Designed to bring a worldwide audience together around Shakespeare’s plays, The Tempest for iPad is more than a digital book. The app is designed for social reading, authoring and collaboration. Readers have access to audio recordings of the play that provide alternative performances of key passages, and they can customize their experience, using only the content and tools they want, when they want them.


“We are discovering that one of the most important components of learning at any stage of our lives is the ability to stretch ourselves just the right amount,” says Rowe. “Our app invites Shakespeare fans and potential fans to do that—it can grow with you as a reader.” The app was engineered at Notre Dame’s Center for Research Computing.


The first play printed in Shakespeare’s First Folio of 1623, The Tempest is thought to be inspired by European discoveries of the New World. Its hauntingly beautiful verse makes it among the most frequently performed and beloved of Shakespeare’s plays, and it has been selected as a theme for the opening ceremonies of the 2012 Summer Olympics in London.


The app can accommodate any Shakespeare-literacy level, from academics who want input from the world’s leading Shakespeare scholars to those who are simply curious about Shakespeare or want a lively introduction to the play.


“Our goal is to invite all readers of Shakespeare—students, teachers, scholars, fans—to gather around this magnificent play. The iPad makes new styles of reading and writing, authoring and sharing possible, and we designed this app to create a thrilling new way for everyone to experience Shakespeare. This app is not just for the classroom. It’s designed for anyone who loves Shakespeare, or anyone who wants to love Shakespeare but needs some help to do so,” says Visconsi.


Readers of The Tempest for iPad can learn from short expert commentaries provided by the world’s leading Shakespeare scholars, artists and teachers; enjoy a full-length, scrolling audio performance of the play by the internationally known touring company Actors from the London Stage; or create a custom play text using key passages. Illustrations, podcasts, teaching materials, and videos from the Folger Shakespeare Library, the world’s premier destination for Shakespeare research, are included in the app.


The Tempest for iPad is available through iTunes for $13.99. Visconsi and Rowe, with the support of Notre Dame and a team of investors, have created a startup company in South Bend, Luminary Digital Media LLC.


Luminary aims to develop many more applications designed to bring together readers worldwide around core humanities texts. Additional information is available at the Luminary website.








Sonnet Trainer App


The Shakespeare Conference: SHK 23.161  Thursday, 26 April 2012


From:        Frank Landsbergen <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 15, 2012 6:36:33 AM EDT

Subject:    Sonnet Trainer App


My name is Dr. Frank Landsbergen. I have recently published an Android-app with which users can train their knowledge of Shakespeare's Sonnets, and I thought it would be nice to bring this to the attention of your site.


There are already several apps with which you can read the sonnets, but this app is different in that the user has to ‘rewrite’ a sonnet, either by reconstructing each line, which has been broken up into parts, or by choosing the correct line from three options. This way, users can practice their knowledge of the sonnets.


The app is called 'Shakespeare Sonnet Trainer' and can be found in the app store through the link below. There is a free version for the sonnets 1-50, and a paid version for all the sonnets.


An iPhone version is scheduled for this fall.


Kind regards,

Frank Landsbergen


Explanation and Further Hiatus


The Shakespeare Conference: SHK 23.160  Thursday, 26 April 2012


From:        Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         Thursday, April 26, 2012

Subject:     Explanation and Further Hiatus


Dear Subscribers,


My chronic health problems flared up again and knocked me out for a few weeks. I am sorry it has taken so long for me to get back to editing, but unfortunately tomorrow afternoon I leave for a weeklong silent meditation retreat and will not be back until Friday May 4, causing another hiatus in receiving digests from SHAKSPER. Before I leave tomorrow afternoon, I will work assiduously to catch up with all of the announcements and other submissions since the last digest.


I learned from my younger daughter Rebecca that the Reduced Shakespeare Company has a tweet site at in addition to their regular site at .


Even though I was not well I managed to see Rebecca in Othello at Bryn Mawr College. She makes a fairly convincing man, but she is much prettier as a young woman.



image Rebecca in Othello at Bryn Mawr College 1



image Rebecca in Othello 2



image Rebecca in Othello 3



image Rebecca in Othello 4




Henry V, Act 3, Scene 4


The Shakespeare Conference: SHK 23.159  Friday, 13 April 2012


From:        John Briggs <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 12, 2012 4:58:23 PM EDT

Subject:     Re: SHAKSPER: Henry V, Act 3, Scene 4


Richard Waugaman wrote:


>Alan Stewart of Columbia recently gave an excellent talk on “The 

>French Shakespeare.” During the discussion afterwards, we 

>pondered the question of Henry V, Act III, scene 4, being 

>entirely in French. How would early audiences have reacted? 

>Professor Stewart found the following surmise to be

plausible—this scene was performed at court, with its 

>French-speaking audience, but was perhaps omitted 

>during public performances.


>If this hypothesis also strikes you as plausible, are the other 

>such scenes extant, that may have been written solely for 

>court performance?


No, it does not strike me as remotely plausible. (Did the Tudors also speak Welsh at Court?)


Two pointers:


1. Act 3, Scene 4 is present (severely mangled) in the “Bad Quarto”. Now, say what you like about Bad Quartos, but no-one has ever accused them of representing court performances.


2. The only recorded court performance of Henry V was at Whitehall on 7 January 1605. (The Bad Quarto of 1600 omits the choruses, and it is possible that these were added for that court performance, especially as it probably took place in the Cockpit—which held the vasty fields of France?)


John Briggs


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